The Galleries of the Exposition eBook

Of particular interest are the pictures in this gallery,
constituting an achievement which few other nations
could rival. Devoted exclusively to the work
of living American women artists, it contains convincing
evidences of the good results which the emancipation
of women in this country allowed them to accomplish
in the field of art. The standard in this gallery
is very high, and one must admit that Mr. Trask’s
daring innovation of putting all the women artists
in one big gallery was justified. They do hold
their own, and they do not need any male assistance
to convince one of their big part in the honors of
the exhibition. On two opposing walls, Mary Cassatt
and Cecilia Beaux give full expression of their very
vital work. Miss Beaux’s work is compelling
in its vigorous technique, fine colour, and daring
composition. Her study in purple and yellow is
bold and unusually successful. On other walls
more portraits by Ellen Emmet Rand continue to hold
our attention, particularly the little girl and the
black cat. The portraits of our women painters
are all far more original in composition and colour
arrangement than those of the men. Mary Cassatt’s
reputation is so universally established as not to
need any introduction. Her art is more French
in the many tone gradations of atmosphere than that
of her American colleagues who are more decorative.
Among others Jean McLane, Mr. Johansen’s wife,
and Annie Lang excel in a certain breadth of style;
while Mrs. Richardson charms by the sympathetic rendering
of the pride and happiness of the young mother.
The composition of this picture, while it is unusual,
is successfully managed. The impression one gains
from this large gallery is most satisfying in every
way. The many portraits done by men seen in various
galleries of the exhibition would scarcely make as
good a showing in a group as the work of the women,
and it was very wise not to attempt it.

One-Man Rooms

An approach to the rest of the American section might
be made through the one-man rooms, and since we are
on the south side, and for other perfectly good reasons
— not the least, that of importance — we
might start with Whistler.

Gallery 28.

Whistler.

No gallery reflects so much the really serious artist,
in his eternal struggle to express himself simply
and exhaustively in line, form, and colour, as does
this Whistler group. A feeling of dissatisfaction,
expressed by many indications of experimentation and
change, of searching for the right line, is clearly
indicated in all of these paintings. He often
gives you a chance to choose between a number of tantalizing
forms and lines. It is very apparent that he set
himself a high, almost an unattainable standard, toward
which he worked with varying success. His emotions
must have been constantly swinging between the greatest
heights of joy and the abyss of despair.